A
it became legal to teach slaves to read and write
Answer:
The correct answer is A) American Indian aid
and
D) Impressment
Explanation:
Even after the Independence of the American colonies, their relationship with Great Britain was always shaky. Things came to a new low when the British decided to aid native Indian tribes who wanted more sovereignty from Washington DC.
Also, impressment was when British naval ships would travel across the Eastern US shores and force young men into service. Not only was it illegal, it was making it very difficult for the United States to build a proper Navy.
Both these were seen as aggressive and increased American resentment of the British.
Thomas Jefferson authorized the Louisiana Purchase despite questions about Constitutional provisions. Many including Jefferson himself questioned whether it was Constitutional or not for the U.S. Government to purchase new territory, however, in the end he decided to move through with the Louisiana Purchase.
Answer: “Birth of a Nation”—D. W. Griffith’s disgustingly racist yet titanically original 1915 feature—back to the fore. The movie, set mainly in a South Carolina town before and after the Civil War, depicts slavery in a halcyon light, presents blacks as good for little but subservient labor, and shows them, during Reconstruction, to have been goaded by the Radical Republicans into asserting an abusive dominion over Southern whites. It depicts freedmen as interested, above all, in intermarriage, indulging in legally sanctioned excess and vengeful violence mainly to coerce white women into sexual relations. It shows Southern whites forming the Ku Klux Klan to defend themselves against such abominations and to spur the “Aryan” cause overall. The movie asserts that the white-sheet-clad death squad served justice summarily and that, by denying blacks the right to vote and keeping them generally apart and subordinate, it restored order and civilization to the South.
“Birth of a Nation,” which runs more than three hours, was sold as a sensation and became one; it was shown at gala screenings, with expensive tickets. It was also the subject of protest by civil-rights organizations and critiques by clergymen and editorialists, and for good reason: “Birth of a Nation” proved horrifically effective at sparking violence against blacks in many cities. Given these circumstances, it’s hard to understand why Griffith’s film merits anything but a place in the dustbin of history, as an abomination worthy solely of autopsy in the study of social and aesthetic pathology.